February 20, 2001 by A.S. Van Dorston

Austin, Texas’ Spoon has been a highly regarded indie rock band who suffered from a false start by being signed and then dropped by Elektra without releasing anything. While 1998’s A Series Of Sneaks was a fine, noisy, tuneful collection, their third full length, Girls Can Tell, suggests a great leap forward that sure sounds like a major breakthrough. On “Me And The Bean,” Britt Daniel’s raspy voice sounds disturbingly like the guy from Bush.

Overall, the sound is much more spare and clean, focusing on the sharp songwriting and tight playing that somewhat brings to mind Elvis Costello & The Attractions circa ’79. Which means it sounds fantastic. The album starts conservatively with the tense “Everything At Once” that does not offer release. By “Me And The Bean,” the melodies are released sparingly, as if Spoon is holding onto their cards. “Lines In The Suit” is the first royal flush, an addictive song with harmonies, and a walking piano arrangement. “The Fitted Shirt” is a massively powerful rocker that earns its strength through restraint — you can sense the energy behind the staccato riffs and slowly pounding Bonham-like drums. They relax during the yearning, nostalgic choruses, and then release the extra energy at the end. “Anything You Want” continues the string of classics with an organ-led snapshot of life’s little moments. “Take A Walk” is a basher more typical of Spoon’s older Pixies-influenced material.

“10:20 AM” is the closest thing to a ballad, with Daniels’ harmonized multi-tracked voice delicately recalling The Kinks. “Take The Fifth” is a lean, anthemic, hand-clapping stomper that starts to give a fuller picture of Spoon’s new signature style. The album ends with another strength, the haunting “Chicago At Night,” featuring Daniels’s consistently clever timing and wordplay. It’s inexplicable that such a major, accessible talent has such a minor audience. Girls Can Tell should help change that.

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